A Modern Telemachus — Edition Insights

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Yonge, Charlotte M. (Charlotte Mary), 1823-1901, Hennessy, William John, 1839-1917 [Illustrator] Project Gutenberg 2003 Not confirmed
Sea stories; Shipwrecks -- Fiction; Algeria -- Fiction; Kidnapping victims -- Fiction; Historical fiction, English Readers of public-domain and historical texts
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Words 61,959
Reading time 270 min
Text sections 6

The catalog record for A Modern Telemachus — Edition Insights provides practical reading context through 61,959 words, 4 hr 30 min estimated reading time, and 6 detected text sections.

The text analysis averages about 26.4 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “Sea stories,” connecting these edition facts with the source record’s subject description.

Charlotte M. Yonge's 1886 novel reimagines a historical shipwreck and captivity narrative, following a young boy and his tutor captured by Algerian corsairs. Based on a true account from 'The Mariner's Chronicle,' the story traces their efforts to secure ransom and escape, with precise period detail and a restrained, observant narrative voice.
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Moors was exactly as related, also the expedient of sending the Marabout of Bugia to negotiate.

Mr. Thomas Thompson was really the English Consul at the time, but his share in the matter is imaginary, as it depends on Arthur's adventures.

The account of the Marabout system comes from the _Universal History_; but the arrival, the negotiations, and the desire of the sheyk to detain the young French lady for a wife to his son, are from the narrative. He really did claim to be an equal match for her, were she daughter of the King of France, since he was King of the Mountains.

The welcome at Algiers and the _Te Deum_ in the Consul's chapel also are related in the book that serves me for authority. It adds that Mademoiselle de Bourke finally married a Marquis de B---, and lived much respected in Provence, dying shortly before the Revolution.

I will only mention further that a rescued Abyssinian slave named Fareek (happily not tongueless) was well known to me many years ago in the household of the late Warden Barter of Winchester College.

Since writing the above I have by the kindness of friends been enabled to discover Mr. Scott's authority, namely, a book entitled _Voyage pour la Redemption des captifs aux Royaumes d'Alger et de Tunis_, _fait en_ 1720 _par les P.P. Francois Comelin_, _Philemon de la Motte_, _et Joseph Bernard_, _de l'Ordre de la Sainte Trinite_, _dit Mathurine_. This Order was established by Jean Matha for the ransom and rescue of prisoners in the hands of the Moors. A translation of the adventures of the Comtesse de Bourke and her daughter was published in the _Catholic World_, New York, July 1881. It exactly agrees with the narration in _The Mariners' Chronicle_ except that, in the true spirit of the eighteenth century, Mr. Scott thought fit to suppress that these ecclesiastics were at Algiers at the time of the arrival of Mademoiselle de Bourke's letter, that they interested themselves actively on her behalf, and that they wrote the narrative from the lips of the _maitre d'hotel_ (who indeed may clearly be traced throughout). It seems also that the gold cups were chalices, and that a complete set of altar equipments fell a prey to the Cabeleyzes, whose name the good fathers endeavour to connect with _Cabale_--with about as much reason as if we endeavoured to derive that word from the ministry of Charles II.

Had I known in time of the assistance of these benevolent brethren I would certainly have introduced them with all due honour, but, like the Abbe Vertot, I have to say, _Mon histoire est ecrite_, and what is worse--printed. Moreover, they do not seem to have gone on the mission with the Marabout from Bugia, so that their presence really only accounts for the _Te Deum_ with which the redeemed captives were welcomed.

It does not seem quite certain whether M. Dessault was Consul or Envoy; I incline to think the latter. The translation in the _Catholic World_ speaks of Sir Arthur, but Mr. Scott's 'M. Arture' is much more _vraisemblable_. He probably had either a surname to be concealed or else unpronounceable to French lips. Scott must have had some further information of the after history of Mademoiselle de Bourke since he mentions her marriage, which could hardly have taken place when Pere Comelin's book was published in 1720.

CHAPTER I--COMPANIONS OF THE VOYAGE

'Make mention thereto Touching my much loved father's safe return, If of his whereabouts I may best hear.'

_Odyssey_ (MUSGRAVE).

'Oh! brother, I wish they had named you Telemaque, and then it would have been all right!'

'Why so, sister? Why should I be called by so ugly a name? I like Ulysses much better; and it is also the name of my papa.'

'That is the very thing. His name is Ulysses, and we are going to seek for him.'

'Oh! I hope that cruel old Mentor is not coming to tumble us down over a great rook, like Telemaque in the picture.'

'You mean Pere le Brun?'

'Yes; you know he always says he is our Mentor. And I wish he would change into a goddess with a helmet and a shield, with an ugly face, and go off in a cloud. Do you think he will, Estelle?'

'Do not be so silly, Ulick; there are no goddesses now.'

'I heard M. de la Mede tell that pretty lady with the diamond butterfly that she was his goddess; so there are!'

'You do not understand, brother. That was only flattery and compliment. Goddesses were only in the Greek mythology, and were all over long ago!'

'But are we really going to see our papa?'

'Oh yes, mamma told me so. He is made Ambassador to Sweden, you know.'

'Is that greater than Envoy to Spain?'

'Very, very much greater. They call mamma Madame l'Ambassadrice; and she is having three complete new dresses made. See, there are _la bonne_ and Laurent talking. It is English, and if we go near with our cups and balls we shall hear all about it. Laurent always knows, because my uncle tells him.'

'You must call him _La Juenesse_ now he is made mamma's lackey. Is he not beautiful in his new livery?'

'Be still now, brother; I want to hear what they are saying.'

This may sound somewhat sly, but French children, before Rousseau had made them the fashion, were kept in the background, and were reduced to picking up intelligence as best they could without any sense of its being dishonourable to do so; and, indeed, it was more neglect than desire of concealment that left their uninformed.

This was in 1719, four years after the accession of Louis XV., a puny infant, to the French throne, and in the midst of the Regency of the Duke of Orleans. The scene was a broad walk in the Tuileries gardens, beneath a closely-clipped wall of greenery, along which were disposed alternately busts upon pedestals, and stone vases of flowers, while beyond lay formal beds of flowers, the gravel walks between radiating from a fountain, at present quiescent, for it was only ten o'clock in the forenoon, and the gardens were chiefly frequented at that hour by children and their attendants, who, like Estelle and Ulysse de Bourke, were taking an early walk on their way home from mass.

They were a miniature lady and gentleman of the period in costume, with the single exception that, in consideration of their being only nine and seven years old, their hair was free from powder. Estelle's light, almost flaxen locks were brushed back from her forehead, and tied behind with a rose-coloured ribbon, but uncovered, except by a tiny lace cap on the crown of her head; Ulick's darker hair was carefully arranged in great curls on his back and shoulders, as like a full-bottomed wig as nature would permit, and over it he wore a little cocked hat edged with gold lace. He had a rich laced cravat, a double-breasted waistcoat of pale blue satin, and breeches to match, a brown velvet coat with blue embroidery on the pockets, collar, and skirts, silk stockings to match, as well as the knot of the tiny scabbard of the semblance of a sword at his side, shoes with silver buckles, and altogether he might have been a full-grown Comte or Vicomte seen through a diminishing glass. His sister was in a full-hooped dress, with tight long waist, and sleeves reaching to her elbows, the under skirt a pale pink, the upper a deeper rose colour; but stiff as was the attire, she had managed to give it a slight general air of disarrangement, to get her cap a little on one side, a stray curl loose on her forehead, to tear a bit of the dangling lace on her arms, and to splash her robe with a puddle. He was in air, feature, and complexion a perfect little dark Frenchman. The contour of her face, still more its rosy glow, were more in accordance with her surname, and so especially were the large deep blue eyes with the long dark lashes and pencilled brows. And there was a lively restless air about her full of intelligence, as she manoeuvred her brother towards a stone seat, guarded by a couple of cupids reining in sleepy-looking lions in stone, where, under the shade of a lime-tree, her little petticoated brother of two years old was asleep, cradled in the lap of a large, portly, handsome woman, in a dark dress, a white cap and apron, and dark crimson cloak, loosely put back, as it was an August day. Native costumes were then, as now, always worn by French nurses; but this was not the garb of any province of the kingdom, and was as Irish as the brogue in which she was conversing with the tall fine young man who stood at ease beside her. He was in a magnificent green and gold livery suit, his hair powdered, and fastened in a _queue_, the whiteness contrasting with the dark brows, and the eyes and complexion of that fine Irish type that it is the fashion to call Milesian. He looked proud of his dress, which was viewed in those days as eminently becoming, and did in fact display his well-made figure and limbs to great advantage; but he looked anxiously about, and his first inquiry on coming on the scene in attendance upon the little boy had been--

'The top of the morning to ye, mother! And where is Victorine?'

'Arrah, and what would ye want with Victorine?' demanded the _bonne_. 'Is not the old mother enough for one while, to feast her eyes on her an' Lanty Callaghan, now he has shed the _marmiton's_ slough, and come out in old Ireland's colours, like a butterfly from a palmer? La Jeunesse, instead of Laurent here, and Laurent there.'

La Pierre and La Jeunesse were the stereotyped names of all pairs of lackeys in French noble houses, and the title was a mark of promotion; but Lanty winced and said, 'Have done with that, mother. You know that never the pot nor the kettle has blacked my fingers since Master Phelim went to the good fathers' school with me to carry his books and insinse him with the larning. 'Tis all one, as his own body-servant that I have been, as was fitting for his own foster-brother, till now, when not one of the servants, barring myself and Maitre Hebert, the steward, will follow Madame la Comtesse beyond the four walls of Paris. "Will you desert us too, Laurent?" says the lady. "And is it me you mane, Madame," says I, "Sorrah a Callaghan ever deserted a Burke!" "Then," says she, "if you will go with us to Sweden, you shall have two lackey's suits, and a couple of _louis d'or_ to cross your pocket with by the year, forbye the fee and bounty of all the visitors to M. le Comte." "Is it M. l'Abbe goes with Madame?" says I. "And why not," says she. "Then," says I, "'tis myself that is mightily obliged to your ladyship, and am ready to put on her colours and do all in reason in her service, so as I am free to attend to Master Phelim, that is M. l'Abbe, whenever he needs me, that am in duty bound as his own foster-brother." "Ah, Laurent," says she, "'tis you that are the faithful domestic. We shall all stand in need of such good offices as we can do to one another, for we shall have a long and troublesome, if not dangerous journey, both before and after we have met M. le Comte."'

Estelle here nodded her head with a certain satisfaction, while the nurse replied--

'And what other answer could the son of your father make--Heavens be his bed--that was shot through the head by the masther's side in the weary wars in Spain? and whom could ye be bound to serve barring Master Phelim, that's lain in the same cradle with yees--'

'Is not Victorine here, mother?' still restlessly demanded Lanty.

'Never you heed Victorine,' replied she. 'Sure she may have a little arrand of her own, and ye might have a word for the old mother that never parted with you before.'

'You not going, mother!' he exclaimed.

''Tis my heart that will go with you and Masther Phelim, my jewel; but Madame la Comtesse will have it that this weeny little darlint'--caressing the child in her lap--'could never bear the cold of that bare and dissolute place in the north you are bound for, and old Madame la Marquise, her mother, would be mad entirely if all the children left her; but our own lady can't quit the little one without leaving his own nurse Honor with him!'

'That's news to me intirely, mother,' said Lanty; 'bad luck to it!'

Honor laughed that half-proud, half-sad laugh of mothers when their sons outgrow them. 'Fine talking! Much he cares for the old mother if he can see the young girl go with him.'

For Lanty's eyes had brightened at sight of a slight little figure, trim to the last degree, with a jaunty little cap on her dark hair, gay trimmings to the black apron, dainty shoes and stockings that came tripping down the path. His tongue instantly changed to French from what he called English, as in pathetic insinuating modulations he demanded how she could be making him weary his very heart out.

'Who bade you?' she retorted. 'I never asked you to waste your time here!'

'And will ye not give me a glance of the eyes that have made a cinder of my poor heart, when I am going away into the desolate north, among the bears and the savages and the heretics?'

'There will be plenty of eyes there to look at your fine green and gold, for the sake of the Paris cut; though a great lumbering fellow like you does not know how to show it off!'

'And if I bring back a heretic _bru_ to break the heart of the mother, will it not be all the fault of the cruelty of Mademoiselle Victorine?'

Here Estelle, unable to withstand Lanty's piteous intonations, broke in, 'Never mind, Laurent, Victorine goes with us. She went to be measured for a new pair of slices on purpose!'

'Ah! I thought I should disembarrass myself of a great troublesome Irishman!'

'No!' retorted the boy, 'you knew Laurent was going, for Maitre Hebert had just come in to say he must have a lackey's suit!'

'Yes,' said Estelle, 'that was when you took me in your arms and kissed me, and said you would follow Madame la Comtesse to the end of the world.'

The old nurse laughed heartily, but Victorine cried out, 'Does Mademoiselle think I am going to follow naughty little girls who invent follies? It is still free to me to change my mind. Poor Simon Claquette is gnawing his heart out, and he is to be left _concierge_!'

The clock at the palace chimed eleven, Estelle took her brother's hand, Honor rose with little Jacques in her arms, Victorine paced beside her, and Lanty as La Jeunesse followed, puffing out his breast, and wielding his cane, as they all went home to _dejeuner_.

Twenty-nine years before the opening of this narrative, just after the battle of Boyne Water had ruined the hopes of the Stewarts in Ireland, Sir Ulick Burke had attended James II. in his flight from Waterford; and his wife had followed him, attended by her two faithful servants, Patrick Callaghan, and his wife Honor, carrying her mistress's child on her bosom, and her own on her back.

Sir Ulick, or Le Chevalier Bourke, as the French called him, had no scruple in taking service in the armies of Louis XIV. Callaghan followed him everywhere, while Honor remained a devoted attendant on her lady, doubly bound to her by exile and sorrow.

Little Ulick Burke's foster-sister died, perhaps because she had always been made second to him through all the hardships and exposure of the journey. Other babes of both lady and nurse had succumbed to the mortality which beset the children of that generation, and the only survivors besides the eldest Burke and one daughter were the two youngest of each mother, and they had arrived so nearly at the same time that Honor Callaghan could again be foster-mother to Phelim Burke, a sickly child, reared with great difficulty.

The family were becoming almost French. Sir Ulick was an intimate friend of one of the noblest men of the day, James Fitz-James, Marshal Duke of Berwick, who united military talent, almost equal to that of his uncle of Marlborough, to an unswerving honour and integrity very rare in those evil times. Under him, Sir Ulick fought in the campaigns that finally established the House of Bourbon upon the throne of Spain, and the younger Ulick or Ulysse, as his name had been classicalised and Frenchified, was making his first campaign as a mere boy at the time of the battle of Almanza, that solitary British defeat, for which our national consolation is that the French were commanded by an Englishman, the Duke of Berwick, and the English by a Frenchman, the Huguenot Rubigne, Earl of Galway. The first English charge was, however, fatal to the Chevalier Bourke, who fell mortally wounded, and in the endeavour to carry him off the field the faithful Callaghan likewise fell. Sir Ulick lived long enough to be visited by the Duke, and to commend his children to his friend's protection.

Berwick was held to be dry and stiff, but he was a faithful friend, and well redeemed his promise. The eldest son, young as he was, obtained as wife the daughter of the Marquis de Varennes, and soon distinguished himself both in war and policy, so as to receive the title of Comte de Bourke.

The French Church was called on to provide for the other two children. The daughter, Alice, became a nun in one of the Parisian convents, with promises of promotion. The younger son, Phelim, was weakly in health, and of intellect feeble, if not deficient, and was almost dependent on the devoted care and tenderness of his foster-brother, Laurence Callaghan. Nobody was startled when Berwick's interest procured for the dull boy of ten years old the Abbey of St. Eudoce in Champagne. To be sure the responsibilities were not great, for the Abbey had been burnt down a century and a half ago by the Huguenots, and there had never been any monks in it since, so the only effect was that little Phelim Burke went by the imposing title of Monsieur l'Abbe de St. Eudoce, and his family enjoyed as much of the revenues of the estates of the Abbey as the Intendant thought proper to transmit to them. He was, to a certain degree, ecclesiastically educated, having just memory enough to retain for recitation the tasks that Lanty helped him to learn, and he could copy the themes or translations made for him by his faithful companion. Neither boy had the least notion of unfairness or deception in this arrangement: it was only the natural service of the one to the other, and if it were perceived in the Fathers of the Seminary, whither Lanty daily conducted the young Abbot, they winked at it. Nor, though the quick-witted Lanty thus acquired a considerable amount of learning, no idea occurred to him of availing himself of it for his own advantage. It sat outside him, as it were, for 'Masther Phelim's' use; and he no more thought of applying it to his own elevation than he did of wearing the _soutane_ he brushed for his young master.

The Abbe was now five-and-twenty, had received the tonsure, and had been admitted to minor Orders, but there was no necessity for him to proceed any farther unless higher promotion should be accorded to him in recompense of his brother's services. He was a gentle, amiable being, not at all fit to take care of himself; and since the death of his mother, he had been the charge of his brother and sister-in-law, or perhaps more correctly speaking, of the Dowager Marquise de Varennes, for all the branches of the family lived together in the Hotel de Varennes at Paris, or its chateau in the country, and the fine old lady ruled over all, her son and son-in-law being often absent, as was the case at present.

Charlotte M. Yonge's A Modern Telemachus opens with a preface that immediately grounds the tale in documented fact: the idea was taken from The Mariner's Chronicle, a collection of maritime adventures. Yonge insists that 'all that is most improbable here is the actual fact,' naming the Comte de Bourke, a real Irish Jacobite, and detailing the historical circumstances of his family's journey to Spain in 1719. This framing invites the reader to approach the fiction with an eye for the strange truth behind it.

The first excerpt introduces the young Ulysse, whose name echoes the classical Telemachus, and his tutor Arthur. Their capture by an Algerian corsair is handled with understated tension, focusing on the practical negotiations and the Dutch renegade captain's cautious treatment of his prisoners. Yonge's prose is precise and unhurried, building atmosphere through small details—the watch given as a gift, the fear of the crew of 'more than two hundred Turks and Moors.'

A Historical Foundation

Yonge's preface is essential for understanding the novel's method. She names her source—The Mariner's Chronicle compiled by 'a person named Scott'—and specifies which elements are factual: the Comte de Bourke's embassy, the Countess's route through Avignon, Berwick's offer of an escort, and the capture by a Genoese tartane. The only liberties she admits are the bestowal of names and the deduction that the Abbé's helplessness was due to illness. This transparency sets a tone of documentary fidelity. Readers should note that Yonge does not claim completeness; she writes that 'all the side-lights I have been able to gain perfectly agree with it,' suggesting her research was thorough but not exhaustive. The historical grounding gives the fictional scenes a weight that pure invention would lack, and the preface rewards rereading after the story's events unfold.

Voice and Observation in Captivity

The excerpts from the captivity section show Yonge's skill at rendering a confined perspective. Arthur, the tutor, is the primary observer, and his viewpoint is limited to what he can see and hear. When the villagers rise from prayer and a stranger enters, Arthur notes the 'low bending in salutation, hands placed on the breast, then kisses exchanged'—a sequence of gestures recorded without commentary. The description of the meal is similarly precise: 'a handsomely tiled floor, and an opening in the roof for the issue of the smoke,' the shared bowl, the 'thin flat soft piece of bread to dip.' Yonge avoids exoticism by treating these details as ordinary to the setting. Arthur's attempts to communicate in French and lingua Franca highlight the difficulty of negotiation, and his suspicion that the merchant is a renegade is left as a quiet inference. The child Ulysse's cry of 'Juba! Juba! Grandmother's Juba!' at the sight of a negro boy introduces a personal connection that the narrative does not yet explain, creating a thread of curiosity for the reader.

Structure and Pacing

The novel's structure, as suggested by the excerpts, alternates between moments of tense negotiation and quieter scenes of cultural observation. The opening preface establishes a framework of historical fact, then the story moves into the immediate danger of the shipwreck and capture. The middle excerpt slows the pace to focus on daily life in the village, with Arthur's watchfulness and the gradual revelation of the power dynamics: the sheyk, the merchant, and the Dey's reach. Yonge uses the child Ulysse as a point of emotional contrast—his excitement at seeing Juba cuts through the adult caution. The pacing is deliberate, allowing the reader to absorb the setting without rushing toward rescue. The excerpts suggest that the narrative will maintain this rhythm, building suspense through small discoveries rather than dramatic action. Readers should expect a patient, detail-oriented story that rewards attention to the characters' shifting circumstances.

Language and Cultural Distance

Yonge's handling of language is a notable feature. The captors and villagers speak a mix of Arabic, French, and lingua Franca, and Arthur's imperfect comprehension is rendered directly: 'the greatness seemed impressed, but whether ambassador was understood was another thing.' The narrative does not translate every exchange, leaving the reader in a position similar to Arthur's—grasping at meaning through context and tone. This technique creates a sense of cultural distance without resorting to stereotype. The Moors are described as 'graceful, lithe, and exceedingly stately and dignified,' but their height is measured against young Hope's shoulder, a detail that emphasizes Arthur's outsider perspective. The merchant's 'ruddy beard' and 'light eyes' mark him as different, and Arthur's suspicion that he is a renegade is based on these physical cues and his familiar tone of voice. Yonge trusts the reader to interpret these signs without explicit judgment.

A Modern Telemachus rewards a first reading that pays close attention to the preface and to the small, telling details of daily life in captivity. Yonge's method is cumulative: each observation builds a picture of the characters' constraints and resources. The novel does not rush to resolution, and the reader who accepts its patient pace will find a story that respects both its historical source and the intelligence of its audience. The excerpts suggest a work of quiet tension and careful craft, best approached with curiosity about how fact and fiction intertwine.

Some books sit on the shelf like old friends who’ve shared a quiet secret. A Modern Telemachus taught me how patience shapes a captive heart, how waiting becomes its own quiet act of courage. I often think of that stillness when I pass The closed door — Context and Discussion, for both whisper of thresholds we approach alone. A gentle familiarity, nothing more.

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